I love the massive bass presence on Manitourist, and I'll be the first to admit my prejudice (preference). From an audiophile perspective I've often responded to other audiophiles searching for "warmer" high frequency response, or relief from listener fatigue, to consider tubes and bass response. I never use EQ, instead implementing dbx subharmonic bass synthesis in many systems. Most mix/mastering practices I've observed in nearly 6 decades treat the bass guitar as an obstacle. The bass guitar's presence was sacrificed through vinyl years to avoid tape distortion, groove mistracking, and the status quo conflict of intermodulation distortion output through affordable stereo gear. More prominent today than ever before, people don't want to hear what their gear sounds like when real bass mix hits the speaker without traditional dinosaur practice of vocals over the top, mids and highs screaming. Be careful anyone that spins Manitourist at max volume if they've had shelter dictated pre-strike through status-quo mix/mastering. Zer's bass is not something to turn your back on, it stalks.

I don't brag about my equipment because that's dumb ego speak. However for transparency and clarity I'll state that I have a selection of Klipsch Forte II speakers, Klipsch subwoofer, McIntosh, Advent 5002 and others. I also have homemade 3ft x 5ft monitors powered by Altec mono 70V line transformer amps. I own a pair of Harman Kardon Citation II tube amps, McIntosh MA230, and many other tube amps. On the solid state side I run Carver M1.5t magnetic field amp.

My McIntosh remains my favorite amp patched naked through my Advents. However when the monsters call I tag up the Carver and patch dbx gear for subharmonic synthesis and dynamic range expansion. I live in the country so I can scream all night and nobody will show up. Life is good. Cranking gear is never limited by choice of gear I got my hands on, It's limited by dinosaur recording engineers with bad ears and marketing managers kissing the likes of Dio's ass. They produce bullshit ego discs that sacrifice the mix and fidelity of the recording with bad placement of vocals over the mix rather than in it. In short the sound hurts, and I suspect most people adjust EQ as a kneejerk behavior to manage their disappointment. After a while it's kneejerk conformity that maintains nonstop delivery of bad product. I listen to discs and then buy or not buy determing what can be salvaged. Most of the product out there is dead on arrival, brick-walled clipped distorted during recording stages. For the rest I'll often use subharmonic synthesis simply because the subharmonics were strategically filtered out of the mix/mastering. I have never enjoyed EQ because in my experience it made things sound different but not better. I have preamps that have been modified to remove EQ sections and most/many I own have switches to bypass EQ circuitry altogether.

The biggest annoyance I have regarding stereo gear is too much emphasis on highs and mids, but then my ears have been protected against intermodulation distortion and frequent indoor concert exposure. I'll never submit myself to another Ted Nugent indoor concert as long as I live!

Even if yer gear's up to the call of monsters, spin Manitourist through loud a few times before you call out satan with the volume dial. This ain't yer Grandma's mastering job. This is DIY done right. Question conformity and listen intensely. Protect yer ears because at full volume it might not seem painful. Ears have limited to no warranty just like gear. Gear don't stalk and makes it's as noisy as a doe running through the woods when stressed. Zer stalks and if you ain't smart there's no escape. Expect this. Those that don't will be all, "ow my balls!"